unit title specialist ways of working level level...

UNIT TITLE Specialist Ways of Working Unit Code FGCM5010 FGRD5001 Location Farnham Level Level 5 Duration (number of weeks) 18 weeks Credit Value 60 Total Learning Hours for Unit 600 Date of approval of this version 8 February 2019 Course(s) to which this unit contributes BA (Hons) Graphic Communication

BA (Hons) Graphic Design (Farnham) CONTENT One important aim of this degree programme is to view graphic design as a collection of principles, processes and methodologies. A key objective of the second year is to explore specialist ways of working and relate your own practice to the professional world. Upon completion of this unit, you will be approximately midway through your undergraduate programme. Therefore, the primary purpose of this unit is to encourage you to reflect upon your achievements thus far whilst looking forwards into the second half of the course and beyond, taking control of your design direction and give your work a real purpose and focus. Over the course of this unit, you will be given a series of creative briefs. These will contain a number of possible outcomes allowing you to test various methodologies. This opens up the possibility of focusing your work on areas as diverse as editorial design, infographics and data visualisation, packaging, branding, typography or even choosing to focus on the relationship between technologies. Of equal importance, is your growing philosophical and critical self-awareness; to produce work that reflects not just your technical abilities and visual communication acumen, but your worldview, your relationship with Graphic Design and its relationship with society and your career aspirations. AIMS The aims of this unit are: A1 To identify specialist graphic areas of practice in order to aid informed choice making

for future creative and professional development. A2 To provide the opportunity to apply growing knowledge, skills and expertise to a

range of specific communication needs. A3 To focus and refine portfolio content to reflect preferred career choice.

LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate an awareness of and application of specialist ways of working. LO2 Demonstrate your ability to apply knowledge, skills and growing expertise to a range

of communication problems. LO3 Produce a portfolio of work that demonstrates creative potential. INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity1 200 No. of hours of independent activity 400 No. of hours of placement activity 0 Lectures Seminars Tutorials Project Supervision Practical classes and workshops Supervised studio time Guided independent study

ASSESSMENT REQUIREMENTS Table A1- Assessment Components

Assessment Component

List all separate

components

Weigh-ting (%)

Typical Indicative Assessment tasks

Where the component comprises more than one assessment task

Assessment Type For each component

double click in the box to see options.

The options equate to the assessment types

in table A2

Word Count Approx

word count where

applicable

Portfolio

100%

A portfolio containing a variety of determined creative outcomes and a book containing evidence of research, analysis and staged conceptual and technical development.

Portfolio

1 This data is required for CMA/published information purposes. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH

Table A2 –Categories for Assessment

Assessment Type % of assessment Category

Written exam Written

Set exercise (under exam conditions but not testing practical skills)

Written

Written assignment, including essay Coursework

Report Coursework

Dissertation Coursework

Portfolio 100% Coursework

Project output (other than dissertation) Coursework

Set exercise (not under exam conditions, e.g. critiques)

Coursework

Oral assessment and presentation Practical

Practical skills assessment (including production of an artefact)

Practical

Set exercise testing practical skills Practical Table A3 – Summary of Table A2 data

Assessment Category Total % for Unit Written Coursework 100% Practical

Table A4 – Assessment Criteria

CRITERION There should be at least one criterion against each learning outcome for the unit

MAPS TO LEARNING OUTCOME

Exploration and appreciation of specialist methodologies that exist within broad practice.

LO1

Application and testing of specialist methodologies. LO2 Creative outcomes that demonstrate breadth and depth of enquiry and application

LO3

READING LISTS2 Essential Arden, Paul. (2009) It's Not How Good You Are, It's How Good You Want To Be, London: Phaidon Press. Walton, Roger. (2007). The Big Book of Graphic Design, London: Collins Design.

2 Reading Lists should be in accordance with the Reading Lists policy as issued by Library & Student Services. This policy also forms part of Annex 5 of the Quality Assurance Handbook.

Chen Design Associates. (2006) Fingerprint: The Art of Using Handmade Elements in Graphic Design, London: How Design Books. Fletcher, Alan. (2001). The Art of Looking Sideways. London: Phaidon Press. Klanten, A., Mollard, M. Hübner. (2011). Behind the zines : self-publishing culture. Berlin: Die Gestalten Verlag Klanten, R., 2012. Introducing: Visual Identities for Small Businesses. Berlin: Die Gestalten Verlag McAlhone, Beryl and Stuart, David. (1998). A Smile in the Mind: Witty Thinking in Graphic Design, London: Phaidon Press Ltd. Muller-Brockmann, Joseph. (2009) Grid Systems in Graphic Design: A Handbook for Graphic Artists, Typographers and Exhibition Designers. Sulgen: Niggli Verlag Tufte, E., (2009). The Visual Display of Quantitative Information. 2nd ed. Cheshire, Connecticut: Graphics Press. Recommended Arden, Paul. (2006). Whatever You Think, Think The Opposite, London: Penguin. Newark, Quentin. (2007). What Is Graphic Design? (Essential Design Handbooks), London: Rotovision. Bergstrom, Bo. (2008). Essentials of Visual Communication, London: Laurence King. Olins, Wally. (2004). Wally Olins: On B®and. London: Thames and Hudson Sagmeister, Stefan and Hall, Peter. (2009) Sagmeister: Made You Look, New York: Harry N. Abrams, Inc. Heller, Steven and Ilic, Mirko. Icons of Graphic Design, London: Thames & Hudson. Barnard, Malcolm. (2005) Graphic Design as Communication, London: Routledge.

This version of this theory unit applies to year 2 students in 2019/20. UNIT TITLE Contextual and Theoretical Perspectives Unit Code FGCM5008 FGRD5002 Location Farnham Level 5 Duration (number of weeks) 24 weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version Course(s) to which this unit contributes BA (Hons) Graphic Communication

BA (Hons) Graphic Design (Farnham) CONTENT This unit encourages you to position your own practice by recourse to a variety of theories, contextual frameworks and critical evaluations, and introduces a variety of research methods to facilitate independent study towards coherent, self-reflective argument in written form. Taking as its starting point the premise that we live in a consumer culture, and that objects and images play a fundamental role in determining social and cultual meaning and value, the unit addresses a number of key texts with regard to the production, mediation, and consumption of that meaning. Exploring theoretical dialogues and debates around concepts of lifestyle, taste, fashion and identity through a series of lectures, you will be asked to consider the import of such theory in relation to both specific discipline-based practices and to the wider cultural field through seminar-based activities. Continuing with the belief that environments, objects and images 'package' experience through their often implicit narratives, the unit will also address a number of theoretical and contextual paradigms that speak to more specific areas of practice. While encouraging a view of such practice as often fluid and interdisciplinary, and subject to cultural and technological change, lecture and seminar material will increasingly focus on historical and contemporary bodies of theory and critical engagement that are most relevant to your particular discipline. In doing so, the unit will alight on a number of key issues that will allow you to further evaluate and position both shared practices and your own individual development. Content may include, but is not limited to: Consumer Culture Lifestyle, Taste, Fashion and Identity Design, Media, and the Production of Meaning Commodification and Singularisation: Issues of Consumption Contemporary visual cultures Photographic meaning Authorship and the politics of expression Social media and constructions of identity Crafting the digital Narration and navigation In addition, the development of a sustained approach to researching visual culture forms an important aspect of this unit, enhancing your knowledge and understanding of the relationship between theory and practice. To this end we will investigate a variety of research resources which may include images, objects, verbal or written texts and other forms of material culture. Feedback during the year will encourage a developmental approach to

research and writing, allowing you to increasingly reflect upoon, and evaluate, your own learning. AIMS The aims of this unit are: A1 To articulate a model of complexity within cultural practices in relation to the

production and consumption of meaning. A2 To encourage positional argument through an analysis and evaluation of the possible

relationships between theory and practice. A3 To promote theoretically driven, research-based independent study through the

development of individually negotiated case-study evidence towards the provision of written argument.

LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Identify a range of contextual and theoretical paradigms related to the possible

meanings of visual culture and individual practice within frameworks of production, mediation and consumption.

LO2 Demonstrate an ability to develop and apply research-led positional argument based

on the analysis and evaluation of a variety of theoretical and contextual resources. LO3 Demonstrate an ability to undertake research, through the development of

individually negotiated case-study evidence, towards a structured, coherent and academic argument in written form

INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity3 28 No. of hours of independent activity 272 No. of hours of placement activity 0 This will comprise: Activities drawn from Lectures, tutorials, seminars and independent study




List all separate components

Weigh-ting (%)




double click in the box to see options. The options equate to the assessment types in table A2

Word Count Approx word count where

applicable Essay

50%

Written assignment (eg essay)

2000-2500

Essay

50%


2500





Written

Written assignment, including essay 100% Coursework

Report Coursework


Portfolio Coursework



Coursework



Practical






Knowledge of a range of theoretical and contextual paradigms.

LO1

Development of positional argument based on the analysis, reflection and evaluation of theory in relation to practice.

LO2

Demonstration of independent research activity towards structured and coherent written argument according to academic convention.

LO3

READING LISTS4 Essential Barthes, Roland. (1957), Image, Music, Text. (Vintage Classics) Lury, Celia. (2011). Consumer Culture London: Polity Press Manghani, S., Piper, A. & Simons, J. (Eds.) (2006). Images: A Reader London: Sage Paterson, Mark. (2005) Consumption and Everyday Life London: Routledge Poyner, Rick. (2007) Obey the Giant: Life in the Image World. (Springer) Rose, Gillian. (2011). Visual Methodologies: An Introduction to the Interpretation of Visual Materials (2nd Edition) London: Sage. Slater, Don. (1998). Consumer Culture and Modernity London: Polity Press Recommended Bowlby, Rachel. (2000). Carried Away: The Invention of Modern Shopping London: Faber and Faber Cashmore, E. (2006). Celebrity / Culture. London: Routledge Bourdieu, Pierre. (2010). Distinction London: Routledge Boyle, David. (2004). Authenticity: Brands, Fake, Spin and the Lust For Real Life London: Harper Perennial Gauntlett, D. (2011). Making is Connecting: The Social Meaning of Creativity, from DIY and Knitting to YouTube and Web 2.0. Cambridge: Polity Press 4 Reading Lists should be in accordance with the Reading Lists policy as issued by Library & Student Services. This policy also forms part of Annex 5 of the Quality Assurance Handbook.

McCracken, Grant. (2005). Culture and Consumption Volume 2: Markets, Meaning and Brand Management Indiana: Indiana University Press Seale, Clive. (2011). Researching Society and Culture (2nd edition) London: Sage Wells, L. (Ed.). (2009). Photography: A Critical Introduction [4th edition] London: Routledge

UNIT TITLE External Context Unit Code FGCM5011 FGRD5003 Location Farnham Level Level 5 Duration 11 weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version 8 February 2019 Course(s) to which this unit contributes BA (Hons) Graphic Communication

BA (Hons) Graphic Design (Farnham) CONTENT The design industry has a number of national and international awards created specifically for students including D&AD, the International Society of Typographic Designers and YCN. This unit offers you the opportunity to work on one of these industry led student competitions. The briefs offered by these institutions represent a broad range of industry-focused outcomes that provide a considerable creative challenge. Through this unit you will be expected to draw together processes, approaches and techniques learnt during the course and demonstrate a high level of applied design processes and methods. Selected work will be entered for competitions. Entries will be judged on the strength of their creative problem solving, innovation, clarity of message, professional level of technical execution and presentation. You may also opt for a specialised line of enquiry within this unit by choosing an appropriate co-authored industry brief or to respond to live briefs written in consultation with companies. Recent examples include Green Room Design, Fabrica, The Design Museum and Sky Television all of which resulted in students having their work used nationally and internationally. The syllabus will include:

• Research and communication strategy • Planning and organisation of targets to complete work to stated deadlines • Development of creative solutions that demonstrate a high level of critical awareness

commensurate with the standards of national competition work • Conceptual thinking and the importance of an innovative and appropriate solution • Professional standards of presentation • Client communication protocol

AIMS The aims of this unit are: A1 To produce work and to compete at a national/professional level. A2 To work within the closely delineated parameters and restrictions of an external brief

that demands high professional standards. A3 To produce an outcome that is highly creative and answers the demands of the brief. A4 To explore the potential for ‘creative risk’ within the parameters of the brief.

LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate a level of professionalism appropriate to the complexities of an external

brief. LO2 Apply professional standards of project management and technical efficiency to

answer an external brief according to all of its stated parameters. LO3 Demonstrate a high level of design evaluation and critical analysis which is reflected in

an innovative response to the demands of a competition brief. LO4 Demonstrate innovative thinking in your solution. INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity5 120 No. of hours of independent activity 180 No. of hours of placement activity 0 Teaching and delivery methods include: Lectures Seminars Tutorials Project Supervision External Visits Work based learning Guided independent study

ASSESSMENT REQUIREMENTS Table A1 - Assessment Components


List all separate

components

Weight-ing (%)





Word Count Approx word count where

applicable Portfolio

100%

• Final creative

outcomes that relate and respond directly to specific

Portfolio


live or competition briefs.

• A design process book that contains research, analysis, design process roughs, prototypes, alternative solutions, concept development and a reflection and summary on the work undertaken and produced.

Table A2 – Categories for Assessment




Written


Report Coursework





Coursework



Practical






Application of professional standard techniques and processes.

LO1

Demonstration of research and planning in pursuit of a professionally credible outcome.

LO2

Interpretation, reflection, analysis and evaluation.

LO3

Intellectual enquiry and concept development leading to professional standard outcome.

LO4

READING LISTS6 Essential Arden, Paul. (2006) It’s Not How Good You Are, It’s How Good You Want To Be. London: Phaidon Press. Johnson, Michael. (2004). Problem Solved: A Primer in Design and Communication. London: Phaidon. McAlhone, Beryl and Stuart, David. (1998). A Smile in the Mind: Witty Thinking in Graphic Design. Rev. and updated ed. London: Phaidon. Pipes, Alan. (2009). Production for Graphic Designers. London: Laurence King. Ambrose, Gavin. (2016) Production manual : a graphic design handbook (2nd ed.) London: Fairchild. Roberts, Lucienne. (2006). Good: An Introduction to Ethics in Graphic Design. Switzerland: AVA Publishing. Recommended Munari, Bruno. (2008). Design as Art, London: Penguin Modern Classics. Pearce, Harry. (2009) Typographic Conundrums. London: Harper Entertainment. Klanten, R. (Author, Editor), Bourquin, N. (Editor), Ehmann, S. Data Flow: Visualising Information in Graphic Design, Berlin: Die Gestalten Verlag. Emerson, R M. (1995) Writing Ethnographic Fieldnotes, Chicago: Chicago University Press; 2nd edition. Bell, Roanne, Sinclair, Mark. (2005) Pictures and Words: New Comic Art and Narrative Illustration, London: Laurence King. Other resources: D&AD - https://www.dandad.org/ YCN - https://www.ycn.org/ AoI - https://theaoi.com/ ISTD - https://www.istd.org.uk/


UNIT TITLE Specialist Ways of Working – Incoming

Study Abroad Unit Code FGCM5012 FGRD5004 Location Farnham Level Level 5 Duration (number of weeks) 12 weeks Credit Value 60 Total Learning Hours for Unit 600 Date of approval of this version 8 February 2019 Course(s) to which this unit contributes BA (Hons) Graphic Communication

BA (Hons) Graphic Design (Farnham) CONTENT One important aim of this degree programme is to view graphic design as a collection of principles, processes and methodologies. A key objective of the second year is to explore specialist ways of working and relate your own practice to the professional world. Over the course of this unit, you will be given a series of creative briefs. These will contain a number of possible outcomes allowing you to test various methodologies. This opens up the possibility of focusing your work on areas as diverse as editorial design, infographics and data visualisation, packaging, branding, typography or even choosing to focus on the relationship between technologies. Of equal importance, is your growing philosophical and critical self-awareness; to produce work that reflects not just your technical abilities and visual communication acumen, but your worldview, your relationship with Graphic Design and its relationship with society and your career aspirations. AIMS The aims of this unit are: A1 To identify specialist graphic areas of practice in order to aid informed choice making


range of specific communication needs. A3 To focus and refine portfolio content to reflect preferred methodologies. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate an awareness of and application of specialist ways of working. LO2 Demonstrate your ability to apply knowledge, skills and growing expertise to a range

of communication problems. LO3 Produce a portfolio of work that demonstrates creative potential.





List all separate

components

Weighting (%)

Typical Indicative

Assessment tasks

Where the component

comprises more than one

assessment task


double click in the box to see options.

The options equate to the assessment types in

table A2

Word Count Approx

word count where

applicable

Portfolio

100


Portfolio






Written


Report Coursework





Coursework



Practical







LO1


LO3

READING LISTS8 Essential Arden, Paul. (2009) It's Not How Good You Are, It's How Good You Want To Be, London: Phaidon Press. Walton, Roger. (2007). The Big Book of Graphic Design, London: Collins Design. Chen Design Associates. (2006) Fingerprint: The Art of Using Handmade Elements in Graphic Design, London: How Design Books. Fletcher, Alan. (2001). The Art of Looking Sideways. London: Phaidon Press. Klanten, A., Mollard, M. Hübner. (2011). Behind the zines : self-publishing culture. Berlin: Die Gestalten Verlag Klanten, R., 2012. Introducing: Visual Identities for Small Businesses. Berlin: Die Gestalten Verlag McAlhone, Beryl and Stuart, David. (1998). A Smile in the Mind: Witty Thinking in Graphic Design, London: Phaidon Press Ltd. Muller-Brockmann, Joseph. (2009) Grid Systems in Graphic Design: A Handbook for Graphic Artists, Typographers and Exhibition Designers. Sulgen: Niggli Verlag Tufte, E., (2009). The Visual Display of Quantitative Information. 2nd ed. Cheshire, Connecticut: Graphics Press. Recommended Arden, Paul. (2006). Whatever You Think, Think The Opposite, London: Penguin. Newark, Quentin. (2007). What Is Graphic Design? (Essential Design Handbooks), London: Rotovision. Bergstrom, Bo. (2008). Essentials of Visual Communication, London: Laurence King. Olins, Wally. (2004). Wally Olins: On B®and. London: Thames and Hudson Sagmeister, Stefan and Hall, Peter. (2009) Sagmeister: Made You Look, New York: Harry N. Abrams, Inc. Heller, Steven and Ilic, Mirko. Icons of Graphic Design, London: Thames & Hudson. Barnard, Malcolm. (2005) Graphic Design as Communication, London: Routledge.


UNIT TITLE Specialist Ways of Working – Outgoing

Study Abroad Unit Code FGCM5013 FGRD5005 Location Farnham Level Level 5 Duration (number of weeks) 12 weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version 8 February 2019

Course(s) to which this unit contributes BA (Hons) Graphic Communication

BA (Hons) Graphic Design (Farnham) CONTENT One important aim of this degree programme is to view graphic design as a collection of principles, processes and methodologies. A key objective of the second year is to explore specialist ways of working and relate your own practice to the professional world. Upon completion of this unit, you will be approximately midway through your undergraduate programme and preparing to study at your chosen study abroad institution. Therefore, the primary purpose of this unit is to encourage you to reflect upon your achievements thus far whilst looking forwards into the second half of the course and beyond, taking control of your design direction and give your work a real purpose and focus. Over the course of this unit, you will be given a series of creative briefs. These will contain a number of possible outcomes allowing you to test various methodologies. This opens up the possibility of focusing your work on areas as diverse as editorial design, infographics and data visualisation, packaging, branding, typography or even choosing to focus on the relationship between technologies. Of equal importance, is your growing philosophical and critical self-awareness; to produce work that reflects not just your technical abilities and visual communication acumen, but your worldview, your relationship with Graphic Design and its relationship with society and your career aspirations. AIMS The aims of this unit are: A1 To identify specialist graphic areas of practice in order to aid informed choice making


range of specific communication needs. A3 To focus and refine portfolio content to reflect preferred methodologies.

LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate an awareness of and application of specialist ways of working. LO2 Demonstrate your ability to apply knowledge, skills and growing expertise to a range

of communication problems. LO3 Produce a portfolio of work that demonstrates creative potential. INDICATIVE TEACHING & LEARNING METHODS




List all separate

components

Weight-ing (%)





Word Count Approx

word count where

applicable

Portfolio

100%


Portfolio






Written


Report Coursework





Coursework



Practical







LO1


LO3

READING LISTS10 Essential Arden, Paul. (2009) It's Not How Good You Are, It's How Good You Want To Be, London: Phaidon Press. Walton, Roger. (2007). The Big Book of Graphic Design, London: Collins Design. Chen Design Associates. (2006) Fingerprint: The Art of Using Handmade Elements in Graphic Design, London: How Design Books. Fletcher, Alan. (2001). The Art of Looking Sideways. London: Phaidon Press. Klanten, A., Mollard, M. Hübner. (2011). Behind the zines : self-publishing culture. Berlin: Die Gestalten Verlag Klanten, R., 2012. Introducing: Visual Identities for Small Businesses. Berlin: Die Gestalten Verlag McAlhone, Beryl and Stuart, David. (1998). A Smile in the Mind: Witty Thinking in Graphic Design, London: Phaidon Press Ltd. Muller-Brockmann, Joseph. (2009) Grid Systems in Graphic Design: A Handbook for Graphic Artists, Typographers and Exhibition Designers. Sulgen: Niggli Verlag Tufte, E., (2009). The Visual Display of Quantitative Information. 2nd ed. Cheshire, Connecticut: Graphics Press. Recommended Arden, Paul. (2006). Whatever You Think, Think The Opposite, London: Penguin. Newark, Quentin. (2007). What Is Graphic Design? (Essential Design Handbooks), London: Rotovision. Bergstrom, Bo. (2008). Essentials of Visual Communication, London: Laurence King. Olins, Wally. (2004). Wally Olins: On B®and. London: Thames and Hudson Sagmeister, Stefan and Hall, Peter. (2009) Sagmeister: Made You Look, New York: Harry N. Abrams, Inc. Heller, Steven and Ilic, Mirko. Icons of Graphic Design, London: Thames & Hudson. Barnard, Malcolm. (2005) Graphic Design as Communication, London: Routledge.


This version of this theory unit applies to year 2 students 2019/20. UNIT TITLE Contextual and Theoretical Perspectives

(Study Abroad Option) Unit Code FGCM5009 FGRD5006 Location Farnham Level 5 Duration (number of weeks) 12 weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version Course(s) to which this unit contributes BA (Hons) Graphic Communication

BA (Hons) Graphic Design (Farnham) CONTENT This unit encourages you to position your own practice by recourse to a variety of theories, contextual frameworks and critical evaluations, and introduces a variety of research methods to facilitate independent study towards coherent, self-reflective argument in written form. Taking as its starting point the premise that we live in a consumer culture, and that objects and images play a fundamental role in determining social and cultual meaning and value, the unit addresses a number of key texts with regard to the production, mediation, and consumption of that meaning. Exploring theoretical dialogues and debates around concepts of lifestyle, taste, fashion and identity through a series of lectures, you will be asked to consider the import of such theory in relation to both specific discipline-based practices and to the wider cultural field through seminar-based activities. Continuing with the belief that environments, objects and images 'package' experience through their often implicit narratives, the unit will also address a number of theoretical and contextual paradigms that speak to more specific areas of practice. While encouraging a view of such practice as often fluid and interdisciplinary, and subject to cultural and technological change, lecture and seminar material will increasingly focus on historical and contemporary bodies of theory and critical engagement that are most relevant to your particular discipline. In doing so, the unit will alight on a number of key issues that will allow you to further evaluate and position both shared practices and your own individual development. Content may include, but is not limited to: Consumer Culture Lifestyle, Taste, Fashion and Identity Design, Media, and the Production of Meaning Commodification and Singularisation: Issues of Consumption Contemporary visual cultures Photographic meaning Authorship and the politics of expression Social media and constructions of identity Crafting the digital Narration and navigation In addition, the development of a sustained approach to researching visual culture forms an important aspect of this unit, enhancing your knowledge and understanding of the relationship between theory and practice. To this end we will investigate a variety of research

resources which may include images, objects, verbal or written texts and other forms of material culture. Feedback during the year will encourage a developmental approach to research and writing, allowing you to increasingly reflect upoon, and evaluate, your own learning. AIMS The aims of this unit are: A1 To articulate a model of complexity within cultural practices in relation to the

production and consumption of meaning. A2 To encourage positional argument through an analysis and evaluation of the possible

relationships between theory and practice. A3 To promote theoretically driven, research-based independent study through the

development of individually negotiated case-study evidence towards the provision of written argument.

LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Identify a range of contextual and theoretical paradigms related to the possible

meanings of visual culture and individual practice within frameworks of production, mediation and consumption.

LO2 Demonstrate an ability to develop and apply research-led positional argument based

on the analysis and evaluation of a variety of theoretical and contextual resources. LO3 Demonstrate an ability to undertake research, through the development of

individually negotiated case-study evidence, towards a structured, coherent and academic argument in written form


No. of hours of scheduled activity11 18 No. of hours of independent activity 282 No. of hours of placement activity 0 This will comprise: Activities drawn from Lectures, seminars, tutorials, and independent study




List all separate components

Weigh-ting (%)





Word Count Approx

word count where

applicable

Essay

50%


2000-2500

Essay

50%


2500





Written

Written assignment, including essay 100% Coursework

Report Coursework


Portfolio Coursework


Set exercise (not under exam conditions, e.g. critiques) Coursework



Practical






Knowledge of a range of theoretical and contextual paradigms.

LO1

Development of positional argument based on the analysis, reflection and evaluation of theory in relation to practice.

LO2

Demonstration of independent research activity towards structured and coherent written argument according to academic convention.

LO3

READING LISTS12 Essential Barthes, Roland. (1957), Image, Music, Text. (Vintage Classics) Lury, Celia. (2011). Consumer Culture London: Polity Press Manghani, S., Piper, A. & Simons, J. (Eds.) (2006). Images: A Reader London: Sage Paterson, Mark. (2005) Consumption and Everyday Life London: Routledge Poyner, Rick. (2007) Obey the Giant: Life in the Image World. (Springer) Rose, Gillian. (2011). Visual Methodologies: An Introduction to the Interpretation of Visual Materials (2nd Edition) London: Sage. Slater, Don. (1998). Consumer Culture and Modernity London: Polity Press Recommended Bowlby, Rachel. (2000). Carried Away: The Invention of Modern Shopping London: Faber and Faber Cashmore, E. (2006). Celebrity / Culture. London: Routledge Bourdieu, Pierre. (2010). Distinction London: Routledge Boyle, David. (2004). Authenticity: Brands, Fake, Spin and the Lust For Real Life London: Harper Perennial Gauntlett, D. (2011). Making is Connecting: The Social Meaning of Creativity, from DIY and Knitting to YouTube and Web 2.0. Cambridge: Polity Press McCracken, Grant. (2005). Culture and Consumption Volume 2: Markets, Meaning and Brand Management Indiana: Indiana University Press 12 Reading Lists should be in accordance with the Reading Lists policy as issued by Library & Student Services. This policy also forms part of Annex 5 of the Quality Assurance Handbook.

Seale, Clive. (2011). Researching Society and Culture (2nd edition) London: Sage Wells, L. (Ed.). (2009). Photography: A Critical Introduction [4th edition] London: Routledge

unit title specialist ways of working level level...

Documents